DETHJUNKIE* Arduino Cantafora - A.A.M. Galleria Roma Teatro, 1978,Olio su tavola, 30x20 cm. Studio per portici, 1979,Penna su foglio di block-notes, 21x15 cm, incollato su cartoncino 30x21 cm. Recto: Assonometria per la casa dell'Acqua, 1979,Verso: Piante per la casa del Sole nascente, 1979. Recto: Pianta di due portici contigui, 1979,Verso: 4° Studio per un piccolo atrio, 1979. Recto: Vari studi per la casa dell'acqua, 1979,Verso: Studio per un locale, 1979. Pianta per un ospedale, 1979,Penna su foglio di block-notes, 17x22,5 cm, incollato su cartoncino 21x30 cm. Pianta per un'Arena, 1979,Penna su foglio di block-notes, 17x23 cm, incollato su cartoncino 21x30 cm. Spaccato dell'Arena, 1979,Penna e pennarelli su foglio di block-notes, 17,3x22,7 cm, incollato su cartoncino 21x30 cm. Casa del Sole nascente + Casa dell'Acqua, 1979,Penna e pennarelli su foglio di block-notes, 17,2x22,9 cm, incollato su cartoncino 21x30 cm. 1° studio per un portico, 1979,Penna e pennarelli su foglio di block-notes, 15,6x21,4 cm, incollato su cartoncino 30x21 cm.
L'esprit □ ro-to-no Valerio Mezzanotti for The New York TimesA gathered skirt in striped silk with a bustier at Christian Dior couture spring/summer 2013 in Paris. Six months ago, Raf Simons presented his first haute couture collection for Dior; he then followed with a hit ready-to-wear show that instantly restored prestige to the house’s tailoring. If people didn’t believe that Mr. Simons, a maverick in men’s wear and a relative newcomer in women’s, could take control of Dior, they certainly were convinced after those shows. COUTURE FASHIONCathy Horyn’s reports from the haute couture shows in Paris. On Monday, in a recreated garden in the Tuileries, Mr. At the start of the show, the models emerged from a dressing room underneath the white set and began walking along paths arranged with dense boxwood mounded around skeletal trees. This organic approach meant deceptively simple shapes at the beginning of the show. Everywhere you looked there was something for the eye. Mr. Mr. Mr. images: source nytimes extra
Celebration Of Vintage and Retro Design - Smashing Magazine Advertisement Retro and vintage designs are often considered as being outdated, looking old, unattractive and dull. That’s not true. Although compared to modern design, retro is mostly a completely different realm, it has a large variety of benefits modern graphic designers often tend to overlook. And that’s a pity. Because we, as designers, can learn a lot from it. Nostalgic designs arise feelings, awake memories and better manage to involve broad range of readers even although they don’t really realize it. Below you’ll find the celebration of retro and vintage design — ads, illustrations, book covers, pins and posters from 1920-1980s. Please notice: if after reading this post you’ll experience some need for buying ice cream, chewing gum or eating sausages, it’s not our fault. Retro Cosmic Retro Cosmic1Designs by James White. Robot Rock! Yopta project3Evgeniy Kiselev’s design project. Andy Gilmore4Playful colors in the retro-look. Packaging and Advertisement Knitting and spool kit7 Remarkable!
Smultronstället WILD THING Ingénue Try not to feel jealous about things, or people or places. It’s toxic. Just keep living. (Source: cascadingletters)